composer

Tazelaar, Kees

Tazelaar is by far the most important practitioner of autonomous electronic music of his generation. In his work, he reconciles modern techniques with the thinking and principles of some 50 ...

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composition

E pur si muove... : 2001 / Kees Tazelaar

Publisher: Amsterdam: MuziekGroep Nederland / NEAR, 2004
Publisher's number: 10914
Genre: Chamber music
Subgenre: Electronic music
Instruments: soundtrack
Remarks: Elektronische muziek. - Tijdsduur: 15'02''
Duration: 16'00"
Status: not yet digitized (expected delivery time 14 days)

Description:
Program note (English): Two-track version on CD CV-NEAR 13. Eight-track performance tape is available at Donemus. This CD is not intended for concert performance. he sound material for "E pur si muove..." This the result of a series of exercises I did in order to get an understanding of the Kyma / Capybara 320 sound computation system from Symbolic Sound. To give my experiments a framework, I decided not to loose myself in the incredible amount of examples that comes with the Kyma software, but to try to implement analog patching techniques that I am familiar with from my experience in the Voltage Controlled Studio of the Institute of Sonology.

When following the classes of Jaap Vink during the Sonology course of 1981, one of the most impressive techniques he showed the students consisted of a feedback setup with ringmodulators, filters and delay lines, that was his own development.
Instead of the usual two signals, now only one sine oscillator is connected to the ringmodulator. The output is fed over a compressor, a reverberator, a filter and a delay line (tape recorder) into the second input of the ringmodulator. With some amplification in the feedback loop, the small amount of tape hiss and some leak of the sine to the output of the modulator are enough to gradually build up complex sounds that keep changing their timbre slowly over time.

A more complex setup involves four oscillators, four ringmodulators and four delay lines, providing a wider range of sounds and quadraphonic output. This setup is now digitally implemented in Kyma and the results are used in this piece. To get the system working, the tape hiss and the leaking of the oscillator had to be simulated too. - KEES TAZELAAR

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